The Art of The Deal

Negotiation for screenwriters can feel like wandering through a pain maze with shifting walls made of… pain. You may know your worth, but studios and networks will try to buy your life’s work (or RedBull fueled 72 hours of typing) for a handful of jellybeans and a couple of HawkTuah-coins. The good news? Negotiation is a skill you can master even quicker than saving the cat.

We’re going to class with three heavyweights of the winning trade - Donald Trump (The Art of the Deal), Chris Voss (Never Split the Difference), and Robert Greene (The 48 Laws of Power). Let’s get geared-up with their wisdom and get business affairs on the line. It’s time for the creative class to get what we deserve!

Set the Anchor First

Lesson from Donald Trump
Trump’s strategy? Take the lead. By making the first offer, he sets the terms of the conversation and forces everyone else to work around them.

Scribblers Power Move: Don’t wait for the studio to set the tone. Be confident. Open with something like, “I’m seeking $X for the option on this script,” or “This project warrants a six-figure deal.” By anchoring the negotiation, you shape its direction from the start.

Keep Your Cards Close

Lesson from Robert Greene (Law 3: Conceal Your Intentions)
Greene warns against revealing too much too soon. A little mystery keeps the power in your hands.

Scribblers Power Move: Don’t tell them how badly you need the deal or how low you’re willing to go. Stay vague, maintain your poker face, and preserve your leverage.

Master Tactical Empathy

Lesson from Chris Voss
Voss emphasizes the power of empathy. Understanding the other side’s emotions and perspective can turn adversaries into collaborators.

Scribblers Power Move: If a studio raises concerns, lean in with empathy: “It sounds like you’re worried about budget constraints,” or “It seems like you’re unsure how this fits into your current slate.” Listening and validating their perspective opens doors.

Make Them Believe

Lesson from Robert Greene (Law 27: Play on People’s Need to Believe)
Greene knows people crave meaning. Tie your project to a bigger vision, and you’ll spark interest and investment.

Scribblers Power Move: Your pitch isn’t just a script—it’s a movement. “This story aligns with audience trends and has breakout potential as a cultural touchstone.” Make them see your work as essential.

Let Them Feel in Control

Lesson from Chris Voss
Voss uses calibrated questions to create the illusion of control. It’s like guiding a dance while letting them feel like they’re leading.

Scribblers Power Move: Ask open-ended questions that nudge things your way: “What’s the best way to structure this deal to meet both our needs?” or “How do you envision this project’s rollout?” Collaboration is your secret weapon.

Talk Less, Listen More

Lesson from Robert Greene (Law 4: Always Say Less Than Necessary)
Silence isn’t awkward—it’s powerful. When you stop talking, others fill the void.

Scribblers Power Move: If the studio counters your offer, don’t rush to justify yourself. Stay quiet and let them reveal their position.

Use Time Wisely

Lesson from Trump (and Studio Execs Everywhere)
Studios love to use deadlines to pressure you. Trump’s trick? Flip the script.

Scribblers Power Move: If you sense urgency on their end, leverage it: “I’d love to wrap this up soon—I’m juggling other commitments.” Suddenly, the ball’s in their court.

Name the Elephant in the Room

Lesson from Chris Voss (The Accusation Audit)
Calling out concerns before they’re voiced disarms your opponent.

Scribblers Power Move: If you know they’re questioning your experience or marketability, address it upfront: “I know this story is bold, but it’s designed with a clear audience in mind.” By owning it, you neutralize it.

Be Bold, Stay Bold

Lesson from Robert Greene (Law 28: Enter Action with Boldness)
Timidity invites doubt. Confidence, on the other hand, is magnetic.

Scribblers Power Move: Own your vision. “This story is unique, and I’m confident it will resonate with audiences.” Even skeptics respect confidence.

Mirror and Label

Lesson from Chris Voss
Mirroring (repeating their words) and labeling (naming their emotions) create rapport and uncover what they really want.

Scribblers Power Move: If they say, “This project feels risky,” repeat back, “Risky?” This encourages them to elaborate, giving you a chance to shift their perspective.

Know When to Walk Away

Lesson from Trump, Voss, and Greene (Law 47: Know Your Limits)
A deal isn’t worth sacrificing your value. Know your bottom line—and be ready to leave if it’s not met.

Scribblers Power Move: Before talks begin, decide your limits. If they push too far, stand your ground: “I don’t think this will work, but I hope we can collaborate in the future.” Respectful firmness leaves the door open.

By channeling the boldness of President Don, the empathy of Special Agent Voss, and the strategic brilliance of Sensei Greene, you’ll transform your negotiations from daunting beat-down to empowering beat-em-up.

And during that moment of tactical pause, remember — You’re not entering that negotiation sans agent (smooth-move WGA) — You have team scribbler’s toolbox in your corner. So, ABS. Always. Be. Scribbling.

Example Scene: The Scribbler’s Negotiation

Alex is pitching a completed horror script, "Shadow’s Veil," to Dana, a seasoned business affairs executive at a major studio.

Dana: Alex, thanks for coming in. Let me start by saying we’re excited about Shadow’s Veil. It has a lot of potential in the horror market.

Alex: Thanks, Dana. I’ve put a lot into this script, and I think it has real breakout potential.

Dana: We agree. Now, let’s talk numbers. We’re prepared to offer $75,000 for the script with the potential for backend points if it hits certain box office thresholds.

Alex (pausing, then smiling): $75,000 is a great starting point. It sounds like you see value in the story, and I appreciate that. But considering the recent success of mid-budget horror films—Smile, Barbarian, even M3GAN—I think this script is positioned to perform at that level.

(Tactic: Setting the Anchor)

Dana: True, but those projects had studio-driven development and A-list producers attached. For a spec script, $75,000 is very competitive.

Alex (mirroring): Competitive?

Dana: Yes. A lot of writers would jump at this offer for a first sale.

Alex: I hear you. It sounds like you’re looking to stay within a budget range that aligns with other specs, but I’m confident this script offers more than a typical first-timer’s project. The concept is built for audience engagement, and I’ve done significant market research to ensure its relevance.

(Tactic: Tactical Empathy + Reframing Value)

Dana: I appreciate your confidence, but we also have to be mindful of risk. Horror can be hit or miss.

Alex: Absolutely. Horror is a high-risk, high-reward genre, and this script leans into the psychological horror trend audiences are craving. How can we structure this deal to reflect its potential while meeting your budget needs?

(Tactic: Calibrated Question + Illusion of Control)

Dana: Well, backend points are one way to address that. If the movie performs, you’ll benefit.

Alex: I’d be open to a discussion about backend points, but I’d also like to see the upfront fee closer to $125,000, given the market value of similar scripts.

Dana (pausing): That’s quite a jump.

Alex (smiling): It is, but I believe the investment reflects the script’s quality and its potential to generate significant returns.

Dana: I can bring $100,000 back to the team, but that’s probably as high as they’ll go upfront.

(Tactic: Anchoring from Dana)

Alex: $100,000 is a solid step forward. Here’s what I propose: $125,000 upfront with 2% of adjusted gross revenue after the studio recoups its costs.

Dana: 2% of adjusted gross is ambitious.

Alex (pausing): Ambitious, but fair given the strength of the concept and its alignment with current trends. How about we meet halfway on the backend—1.5% of adjusted gross—and keep the upfront at $125,000?

(Tactic: Silence)

Dana (after a beat): I’ll need to run this by the team, but I think we can work something out.

Alex: Great. I’m looking forward to hearing what you come back with. Thanks, Dana.

Breakdown of Tactics:

Setting the Anchor: Alex reframes the studio’s $75,000 offer as a “starting point,” immediately shifting the negotiation upward.

Mirroring: Alex repeats key words like “competitive” to invite Dana to elaborate, uncovering her rationale.

Reframing Value: Alex ties the script’s potential to recent horror successes, highlighting its commercial viability.

Calibrated Questions: Open-ended questions like, “How can we structure this deal to reflect its potential?” keep Dana engaged while subtly steering the conversation.

Illusion of Control: By asking Dana for input, Alex makes her feel involved, even while guiding the terms.

Silence: Alex uses pauses to let Dana process and respond, creating moments of subtle pressure.